XVIII. THE LAY OF THE NIBELUNGS

The most important poetic production of medieval Germany. It embodies legends that date back, in part, to the 5th century and were handed down from age to age by oral tradition. The different versions known to us point back to a lost original which probably took shape toward the end of the 12th century and was the work of an Austrian poet of whom nothing is known. The form is a four-line strophe, with masculine rimes paired in the order aa bb. Each line is divided into two parts by a cesura, which regularly falls after an unstressed syllable. The first seven half-lines usually have three accents each, the eighth four.

59

Reasoning from incongruities in the text, the famous scholar Lachmann concluded that the poem consists of twenty old songs, or ballads, pieced together with new matter in the shape of introductions, transitions, and amplifications. This theory gave rise to a great controversy which still divides scholarship to some extent, with opinion tending more and more to the confirmation of Lachmann’s general view, but to the rejection of his specific conclusions. That is to say: The poem is a working-over of old songs; but just how many of these there were, where the dividing lines come, and how much merit of originality may rightly be claimed for the nameless 12th century poet, cannot be definitely settled.

The most popular modernization is that of Simrock, 56th edition, 1902, from which the selections below are taken. It has its defects, but none of the many attempts to improve upon it has met with a generally recognized success.